For 1,960 reviews, this critic has graded:
  • 73% higher than the average critic
  • 2% same as the average critic
  • 25% lower than the average critic
On average, this critic grades 8.2 points higher than other critics. (0-100 point scale)

Steven Rea's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Since Otar Left
Lowest review score: 0 Isn't She Great
Score distribution:
1960 movie reviews
    • 53 Metascore
    • 50 Steven Rea
    If only RocknRolla's characters were at all believable - even in the context of its own cartoon universe.
    • 52 Metascore
    • 50 Steven Rea
    The real problem is that there's nothing to George but the movie's props.
    • Philadelphia Inquirer
    • 49 Metascore
    • 50 Steven Rea
    There's not a believable character, nor line of convincing dialogue to be found.
    • 27 Metascore
    • 50 Steven Rea
    It's overstating things to say the stars of Fantastic Four are Miles Teller, Kate Mara, Michael B. Jordan, and Jamie Bell, because I can't remember the last time four actors appeared less invested in a movie for which they've teamed up.
    • 59 Metascore
    • 50 Steven Rea
    Run All Night isn't dull. The pace is breakneck, and necks get broken. But the violence is relentless, ugly, unredeemed by any real humanity.
    • 44 Metascore
    • 50 Steven Rea
    Loaded with careening car chases and rooftop runs, glass-shattering shootouts and exploding fireballs, Killer Elite offers more than enough to keep action junkies happy.
    • 50 Metascore
    • 50 Steven Rea
    Stevenson is big and swarthy and not altogether without credibility, but he's got as much charisma as a potato.
    • 46 Metascore
    • 50 Steven Rea
    McKellen, Hanks and Tautou - and Alfred Molina, as a bishop with an agenda - are no slouches when it comes to emoting, but screenwriter Goldsman's rigorously faithful interpretation of Brown's flatfooted prose stylings is the filmic equivalent of putting big chewy baguettes in the actors' maws.
    • 59 Metascore
    • 50 Steven Rea
    Too cute by half (or maybe three-quarters).
    • 54 Metascore
    • 50 Steven Rea
    Finally - and the news should really come as a relief - here is a role Streep should not have tried, in a movie that should not have been made.
    • 54 Metascore
    • 50 Steven Rea
    For all its visual delights, Magic in the Moonlight, the 44th feature written and directed by the admirably industrious Woody Allen, has to be one of his bigger duds.
    • 45 Metascore
    • 50 Steven Rea
    The trailers already have given away the "surprise" cameos in The Expendables, so try not to blink when Stallone goes into a church (shades of John Woo) to meet his mystery boss, played by a bald-pated, trademark smirking Bruce Willis.
    • 73 Metascore
    • 50 Steven Rea
    DiCaprio provides one of those tailor-made Oscar turns - cocking his head at odd angles, twitching and gesticulating with childlike awkwardness, his face a mask of sweet innocence and uncontrollable tics. [4 Mar 1994, p.03]
    • Philadelphia Inquirer
    • 73 Metascore
    • 50 Steven Rea
    And did I mention that it's long? It's long.
    • 40 Metascore
    • 50 Steven Rea
    The offbeat comedy is not entirely devoid of charm, but its derivativeness is almost embarrassing.
    • 52 Metascore
    • 50 Steven Rea
    Alas, it's a throwback that's thrown its back out - limping along, trailed by battalions of stereotypes and ammo rounds of cliche.
    • 36 Metascore
    • 50 Steven Rea
    Reality aside, The Watch is harmless enough - and even occasionally humorous, in a riffy, sketch-comedy kind of way.
    • 30 Metascore
    • 50 Steven Rea
    It has its moments of swaggering camaraderie, but more often just feels generic, derivative and done to death.
    • 49 Metascore
    • 50 Steven Rea
    Fairy-tale-like musing on true love in cynical times.
    • Philadelphia Inquirer
    • 51 Metascore
    • 50 Steven Rea
    Alternately tedious, cliched and unintentionally funny.
    • 51 Metascore
    • 50 Steven Rea
    Dumb, dumb, dumb - borrowing scare tactics from Hitchcock and other suspense masters, but forgetting basic story.telling essentials such as character development and logical exposition.
    • 59 Metascore
    • 50 Steven Rea
    Zemeckis, who blazed trails mixing live-action with animation in "Who Framed Roger Rabbit," blazes not even a footpath here.
    • 45 Metascore
    • 50 Steven Rea
    There's nothing Disneyesque about this bomb except the forced levity of its musical score.
    • 58 Metascore
    • 50 Steven Rea
    "There's nothing here!" screams Romina Mondello - Kurylenko's Euro gal pal, walking the deserted sidewalks of this Anytown, U.S.A. Boy, truer words . . ..
    • 62 Metascore
    • 50 Steven Rea
    Despite its penchant for the crude and lewd, is gooey in ways that have nothing to do with bodily fluids.
    • 48 Metascore
    • 50 Steven Rea
    xXx
    Less a movie than a collection of pretty cool action set-pieces, linked together with some seriously awful acting and dialogue that even Dr. Evil couldn't deliver with a straight face.
    • 61 Metascore
    • 50 Steven Rea
    The Weather Man belongs to a school of earnest, artsy Hollywood flicks that includes the Michael Douglas-goes-bonkers "Falling Down," and a lineage that goes back to revered 1970s pics like "Five Easy Pieces."
    • 25 Metascore
    • 50 Steven Rea
    At this point in her career, Lopez can clearly bend the universe -- but no amount of bending can make Enough anything more than formulaic.
    • 35 Metascore
    • 50 Steven Rea
    Stiff but handsome film, there's little sense of the conflict and complexities that drove Alma Mahler.
    • Philadelphia Inquirer
    • 43 Metascore
    • 50 Steven Rea
    By the end of Machine Gun Preacher, its title character has become a cartoon.
    • 36 Metascore
    • 50 Steven Rea
    With clunky dialogue...I Am Number Four puts the burden on its special effects (passable) and the chemistry between Pettyfer and Agron.
    • 47 Metascore
    • 50 Steven Rea
    If illuminating dawns and dusks had basked Mia Wasikowska and Henry Hopper in a rosy glow, the mopey cuteness of Restless would have been too much to bear.
    • 57 Metascore
    • 50 Steven Rea
    Jeremy Irons slithers on board with a haughty sneer and papal vestments, playing Bishop Pucci.
    • 44 Metascore
    • 50 Steven Rea
    A creaky, cliched, feel-good family drama about learning to stop and smell the roses - and planting a vegetable garden while you're at it - Uncle Nino is shameless, sappy fare.
    • 44 Metascore
    • 50 Steven Rea
    Dizzyingly incoherent and subversively surreal, this sophomore effort from the man who made the great, strange "Donnie Darko" is certain to have its fans. I'm not going to be one of them.
    • 22 Metascore
    • 50 Steven Rea
    Has its compelling moments, and its playfully inventive ones, too.
    • 51 Metascore
    • 50 Steven Rea
    A big comedown from "The Fighter," Contraband finds Wahlberg in default mode: With his Popeye biceps and broody stares, the actor can do a character like Chris without even thinking about it - and that's what he does here.
    • 46 Metascore
    • 50 Steven Rea
    There's real hypocrisy here. If a movie like Fifty Shades of Grey is supposed to offer a voyeuristic experience - and not a ridiculous experience - have some integrity about your nudity. Despite what the filmmakers may want to believe, there isn't a lot else going on here. Fifty Shades of Grey Matter, not so much.
    • 66 Metascore
    • 50 Steven Rea
    Jonathan and Christopher Nolan's adaptation of this novel by Christopher Priest offers three acts of exasperating muddle.
    • 32 Metascore
    • 50 Steven Rea
    Not exactly a hundred million dollars' worth of classic comedy.
    • 24 Metascore
    • 50 Steven Rea
    Unravels in a series of spooky dream sequences, dopey detective work, and a couple of richly hambone-ian De Niro soliloquies.
    • 41 Metascore
    • 50 Steven Rea
    Just about the only folks likely to find this humdrum hybrid of "Mission: Impossible" and "The Wind in the Willows" worthy for consideration are non-discriminating pip-squeaks.
    • 57 Metascore
    • 50 Steven Rea
    With a clamorous soundtrack and a whirl of elaborate chases and busily choreographed fight scenes, this is Sherlock Holmes with Attention Deficit Disorder.
    • 67 Metascore
    • 50 Steven Rea
    A sappy excursion to Edwardian days.
    • 43 Metascore
    • 50 Steven Rea
    Think Jerry Lewis doing Eminem, or maybe it's Eminem doing Jerry Lewis (or maybe it's Pauly Shore doing Vanilla Ice), and you've got B-Rad.
    • 40 Metascore
    • 50 Steven Rea
    A bummer.
    • 48 Metascore
    • 50 Steven Rea
    Has the disjointed feel of a bunch of strung-together TV episodes.
    • 37 Metascore
    • 50 Steven Rea
    Maybe the best reason to see Papa: Hemingway in Cuba is to catch a glimpse of the real Finca Vigia, the property, with its house and pool, gardens, and tree-lined drive, where Ernest Hemingway lived and wrote - and famously drank - from 1939 until 1960. Pages of For Whom the Bell Tolls were banged out here; so, too, The Old Man and the Sea.
    • 36 Metascore
    • 50 Steven Rea
    Level of humor: subteen.
    • 29 Metascore
    • 50 Steven Rea
    In the future, in the past, at all points along the space-time continuum, the Theory of the Teenage Male Mind throws everything out of whack.
    • 37 Metascore
    • 50 Steven Rea
    In essence, a wild soap opera disguised as a political allegory, it's a movie, with its over-the-map performances, that is worth catching only for the inadvertent laugh or two.
    • 55 Metascore
    • 50 Steven Rea
    If only the screenplay had more going for it than hackneyed homilies and living-in-the-ghetto stereotypes. If only first-time director Sunu Gonera had a surer hand, a knack for something bolder, wilder, goofier.
    • 39 Metascore
    • 50 Steven Rea
    While The Sitter isn't that dumb, or dreadful, there really isn't much going on here.
    • 16 Metascore
    • 50 Steven Rea
    Has a dark, low-budget feel and an incongruous combination of self-consciously jokey patter and gross-out gore.
    • 45 Metascore
    • 50 Steven Rea
    Shows glimmers of great drama, but jettisons too much essential cargo (character development, relationships, plot, common sense) in an effort to be lean and clean.
    • 54 Metascore
    • 50 Steven Rea
    Vacancy, in the end, simply offers a particularly aggressive brand of couples counseling.
    • 45 Metascore
    • 50 Steven Rea
    Gritty, jumpy and rife with cliches.
    • 52 Metascore
    • 50 Steven Rea
    The real problem isn't with the actors, it's with 1) the source material, a highfalutin romance novel with a clever literary conceit, and 2) LaBute's clumsy, uncomfortable efforts to telescope Byatt's book into a workable movie.
    • 50 Metascore
    • 50 Steven Rea
    Relying on improv-y riffing and watch-them-coming-from-down-the-block-and-around-the-corner sight gags, The Campaign is intermittently amusing, but more often just interminable.
    • 47 Metascore
    • 50 Steven Rea
    What are you going to do when your lead actress offers a performance that's as unlikable as the woman she's portraying? Maybe it's the script (flimsy, formulaic), or filmmaker Alejandro Gomez Monteverde's conspicuous direction, but Tammy Blanchard's Nina, a waitress with a dour disposition and an unwanted pregnancy, pretty much sucks the life out of this well-meaning melodrama.
    • 39 Metascore
    • 50 Steven Rea
    There's nothing original, nor compelling, about Twist.
    • 56 Metascore
    • 50 Steven Rea
    Not even Halle Berry, emerging from the blue Caribbean in an orange two-piece -- can bring this thing to life.
    • 63 Metascore
    • 50 Steven Rea
    Feels more like a postscript than a probing, provocative documentary.
    • 55 Metascore
    • 50 Steven Rea
    A silly melodrama.
    • 62 Metascore
    • 50 Steven Rea
    Far-fetched and utterly humorless, with a literally tacked-on conclusion (yes, more text on the screen), the only thing that's surprising about Unbreakable is how lame it is.
    • 44 Metascore
    • 50 Steven Rea
    Cute, cloying and catastrophically predictable.
    • 48 Metascore
    • 50 Steven Rea
    It's simplistic and reactionary and designed to get hearts pumping but not minds thinking.
    • 47 Metascore
    • 50 Steven Rea
    The film's intimations of bisexual romance have a certain innate drama that no amount of bad acting or cornball rugby matches can completely erase.
    • 45 Metascore
    • 50 Steven Rea
    The moral of Taken 2? If you're going on a family vacation, be sure that the human-trafficking ring you put out of business in that far more satisfying and suspenseful thriller from a few years ago doesn't know how to find you.
    • 36 Metascore
    • 50 Steven Rea
    Death Sentence's message - that vengeance is ultimately futile, spinning out a vicious circle of rage and hate - may be commendable, but there's nothing noteworthy about the way Wan, Bacon and their troops go about delivering it.
    • 40 Metascore
    • 50 Steven Rea
    Owen is all right as the harried husband whose relationship at home has turned frosty, but the essential heat between him and Aniston is missing. The actress succeeds in shedding her "Friends" persona, but there's something missing here, especially as things get knottier.
    • 49 Metascore
    • 50 Steven Rea
    It isn't frightening. Sometimes, in fact, it's laughable.
    • 48 Metascore
    • 50 Steven Rea
    Virtually every set-up and set-piece in this extravagantly tedious adventure is misleading, or worse, irrelevant.
    • 29 Metascore
    • 50 Steven Rea
    It's nothing if not predictable.
    • Philadelphia Inquirer
    • 59 Metascore
    • 50 Steven Rea
    If you want to see a Renaissance faire turned into an apocalyptic battlefield, this is the ticket.
    • 34 Metascore
    • 50 Steven Rea
    Bleak and painfully earnest.
    • 53 Metascore
    • 50 Steven Rea
    A long, tedious and convoluted follow-up to 2003's rollicking high-seas hit, The Curse of the Black Pearl, this second installment in the promised trilogy lacks the swash and buckle of the original. And then some.
    • 29 Metascore
    • 50 Steven Rea
    Premonition is an odd little thing, with a protagonist in a protracted fugue state and a plot that doesn't know whether its coming or going. Or maybe it does.
    • 33 Metascore
    • 50 Steven Rea
    Director Robert Schwentke and his writing team do their best to move things along. Actually, who knows if it's their best? Maybe they're suffering from Divergent fatigue along with the rest of us.
    • 47 Metascore
    • 50 Steven Rea
    Shot like a Disney period piece (prettily, with spiffy props, shiny vintage vehicles, and costumes just back from the cleaners), Flyboys introduces its squadron the old-fashioned way: with character-establishing setups.
    • 54 Metascore
    • 50 Steven Rea
    Rock Star sinks into a morass of melodrama.
    • 30 Metascore
    • 50 Steven Rea
    Most of it plays like Jackass.
    • 53 Metascore
    • 50 Steven Rea
    A woefully thin and pointless musical comedy boasting the no-chemistry coupling of Cuba Gooding Jr. and Beyonc?
    • 53 Metascore
    • 50 Steven Rea
    War is hell, war is cruelty, war is toil and trouble, war is just a shot away. But is war a snooze? Well, by the time Enemy at the Gates has run its course — it sure seems that way.
    • Philadelphia Inquirer
    • 68 Metascore
    • 50 Steven Rea
    An epic work of self-indulgence and smug riffing, stringing together tropes from TV and screen westerns and closed-room whodunits, The Hateful Eight announces itself with all the pomp and circumstance of a mid-century cinema spectacle.
    • 39 Metascore
    • 50 Steven Rea
    An uninspired computer-animated feature that may satisfy undiscriminating pipsqueaks and nearly no one else, Planet 51 is a low-IQ E.T. in reverse.
    • 21 Metascore
    • 50 Steven Rea
    Fuzzy, feel-good movie about baseball, babes and believing in yourself.
    • 55 Metascore
    • 50 Steven Rea
    Promised Land is a frustrating film to watch. It should be better than this, smarter than this.
    • 26 Metascore
    • 50 Steven Rea
    Full of clunky humor, battle-of-the-sexes musings and spicy accordion music, Everybody Wants to Be Italian is relentless - but not necessarily relentless fun.
    • 35 Metascore
    • 50 Steven Rea
    The movie's main purpose seems to be to make audiences squirm uncomfortably. Yelp and shriek in armchair-clawing glee? Not likely.
    • 63 Metascore
    • 50 Steven Rea
    Although its low-key realism is admirable, Eden doesn't really work: the long silences, the aching stares, the telling props, Breda's quivering blues, Billy's drunkenness, his distraction. There might as well be a sign stuck to the Farrells' front door: Dysfunctional family lives here.
    • 50 Metascore
    • 50 Steven Rea
    Shot on the cheap, with cheesy animated credits and comic-panel "Bams!" and "Pows!" splashed across the screen, Super has a jokey, low-rent quality (or lack of quality) that could be endearing, if Wilson's performance weren't so nihilistically dull, and if there were somebody in the picture who had a soul.
    • 40 Metascore
    • 50 Steven Rea
    Cold and stylish, slick and violent.
    • Philadelphia Inquirer
    • 44 Metascore
    • 50 Steven Rea
    The script is boilerplate, the wit pretty much witless.
    • 38 Metascore
    • 50 Steven Rea
    Yes, bestiality in a PG-13 movie. It's the end of life as we know it.
    • 43 Metascore
    • 50 Steven Rea
    A noisy, not particularly charming collection of skits and skirmishes.
    • 38 Metascore
    • 50 Steven Rea
    Men, Women & Children isn't a cartoon. It wants to be real, terribly. Instead, it's just terrible.
    • 26 Metascore
    • 50 Steven Rea
    By Twisted's final twist, though, it's all Judd can do to keep a straight face.
    • 53 Metascore
    • 50 Steven Rea
    It's old, old hat.
    • Philadelphia Inquirer
    • 49 Metascore
    • 50 Steven Rea
    Directed in moody, downbeat tones by Daniel Barnz, Cake doesn't know when to stop piling on the angst.
    • 45 Metascore
    • 50 Steven Rea
    For its amusing premise, Fanboys is scarily flat.
    • 28 Metascore
    • 50 Steven Rea
    No one is bad in The Big Wedding, but no one is remotely believable, either.
    • 47 Metascore
    • 50 Steven Rea
    Dull plod.
    • 47 Metascore
    • 50 Steven Rea
    It is a good hour too long, although it does boast Christopher Walken.
    • 51 Metascore
    • 50 Steven Rea
    A moody cyber-noir with not much on its mind but looking good, Blackhat is a must-see if you like your dialogue (romantic, dramatic, subtitled Cantonese) peppered with techspeak.
    • 69 Metascore
    • 50 Steven Rea
    Less a Holocaust retribution fantasy than a messy homage to war movies, and to movies, period.
    • 33 Metascore
    • 50 Steven Rea
    Manages to rocket along at full speed. At the same time, however, the movie feels as if it's not going anywhere at all.
    • 35 Metascore
    • 50 Steven Rea
    What Hannibal Rising is, mostly, is a hoot.
    • 38 Metascore
    • 50 Steven Rea
    The real Radio, and the real coach -- seen together in the movie's feel-good epilogue -- deserve better.
    • 45 Metascore
    • 50 Steven Rea
    Murky and grainy, and showing human beings at their grimmest - thievery, rape, betrayal, murder - Blindness is no barrel of laughs. But it IS a barrel of pretentious metaphorical musings.
    • 23 Metascore
    • 50 Steven Rea
    Stephen King without the snap, David Lynch without the kink, teen horror without the teen hormones, Darkness Falls falls apart in a crescendo of creepy-crawly hoo-ha. It's more like Darkness Kerplunks.
    • 27 Metascore
    • 50 Steven Rea
    Isn't as jaw-droppingly awful as its trailers suggest.
    • 24 Metascore
    • 50 Steven Rea
    A thuddingly dull remake of the 1971 crime drama starring Michael Caine.
    • Philadelphia Inquirer
    • 53 Metascore
    • 50 Steven Rea
    There are tiny glints of humor and intelligence at work, and the action and animation rockets along slickly and stylishly. But unlike the protagonists of almost any and all of the Pixar titles, Astro Boy's namesake lacks even an iota of soul.
    • 53 Metascore
    • 50 Steven Rea
    Epic piffle.
    • 50 Metascore
    • 50 Steven Rea
    There's nothing hip or ironic about Poseidon, which makes Russell and Lucas the perfect leading men.
    • 62 Metascore
    • 50 Steven Rea
    It's still a submarine movie, confined by the ship, the sea, and a convention-laden script.
    • 52 Metascore
    • 50 Steven Rea
    DePalma's movie offers its own doctoring and processing, without delivering an ounce of real humanity - good or bad - in the bargain.
    • 67 Metascore
    • 50 Steven Rea
    A sloppy, sentimental story line and pivotal plot turns that are only sketchily realized undermine the life-on-the-road misadventures.
    • 47 Metascore
    • 50 Steven Rea
    Feels like the cinematic equivalent of the BP disaster in the gulf: It's a big-screen oil spill, a needless gushing of macho bluster and wild set pieces, and a waste of millions and millions of dollars.
    • 55 Metascore
    • 50 Steven Rea
    At least an hour of Man of Steel's excessive running time is devoted to the sort of crash-and-burn, slamming-into-skyscrapers CG fight scenes that we've already seen in "The Avengers" and "Dark Knight," "Iron Man," and "Spider-Man." Man of Steel is just the same old same old.
    • 45 Metascore
    • 50 Steven Rea
    Secret in Their Eyes is notable for its top-tier cast - Julia Roberts, Nicole Kidman, and Chiwetel Ejiofor are the leads - and for its utter lack of credulity and good sense.
    • 39 Metascore
    • 50 Steven Rea
    Harry Connick Jr. acquits himself best of the lot.
    • 35 Metascore
    • 50 Steven Rea
    In truth, the only hazardous material to be found in Diana - the title role assumed bravely, if mistakenly, by Naomi Watts - is the screenplay.
    • 42 Metascore
    • 50 Steven Rea
    Doesn't take itself seriously, and that's a good thing.
    • 28 Metascore
    • 50 Steven Rea
    For all its mayhem, for all the smashing windows and kabooming fireballs, the grenade launchers and giant helicopters, A Good Day to Die Hard not only fails to top its predecessors, it also forgets the basic Die Hard rules.
    • 58 Metascore
    • 50 Steven Rea
    This is not about a reluctant hero drawing courage from some deep personal well. It's not about dread and danger. It's about visual effects.
    • 43 Metascore
    • 50 Steven Rea
    City Slickers I managed to poke fun at the whole Iron John/discover-your- maleness movement at the same time the film was able to embrace it. But while City Slickers II tries for the same mix, it doesn't work. Instead, we get shots of three smelly, unshaven guys getting blubbery and hugging each other. [10 June 1994, p.03]
    • Philadelphia Inquirer
    • 50 Metascore
    • 50 Steven Rea
    The Island could be read as a metaphor for societal ills (commercialization, conformity, pharmaceutical overkill) if it weren't so shamelessly dumb. And dumb it is.
    • 34 Metascore
    • 50 Steven Rea
    Filled with close-ups of Jesus and his apostles (all the better to hide the absence of elaborate period sets), mixing quotes from the Scripture with flat exposition, this low-budget affair is earnest and, alas, more than a little bit cartoonish.
    • 53 Metascore
    • 50 Steven Rea
    Directed by Terrence Malick's editor and protégé, A.J. Edwards, The Better Angels abounds with Malick-ian moments: upward-pointing cameras capturing bodies wheeling through fields, plaintive voice-overs punctuated by Jew's harp and birdsong, a tendency to drift toward the sky and its moody tableau of clouds.
    • 70 Metascore
    • 50 Steven Rea
    Aspires to the devilish crudity and unfettered social commentary of South Park. But Zwigoff's direction lacks the exaggerated cartoonishness necessary.
    • 39 Metascore
    • 50 Steven Rea
    Thank goodness for Leslie Mann. If not for the nutball charm of this tight-wound whirlwind, the dispiriting Hollywood sex comedy The Other Woman would be close to unbearable.
    • 53 Metascore
    • 50 Steven Rea
    Decidedly loopy and nonlinear, Mister Lonely is precious and artsy, but there are moments when Korine's, er, unique vision brings something bold and beautiful to the table.
    • 49 Metascore
    • 50 Steven Rea
    The trouble with Alfie - apart from the film's existence, and the wrongheaded idea of remaking a minor classic - is that not a soul is likable.
    • 44 Metascore
    • 50 Steven Rea
    Feels thoroughly canned.
    • 36 Metascore
    • 50 Steven Rea
    The script appears to have been designed, created and produced entirely in 1-D: a mishmash of kidcentric antics, follow-your-dream cliches, and innocuously icky humor.
    • 30 Metascore
    • 50 Steven Rea
    Has a low-key tone that works in its favor for a time.
    • 38 Metascore
    • 50 Steven Rea
    It works here and there. And then it doesn't.
    • 34 Metascore
    • 50 Steven Rea
    You'd think a movie about transplanting human consciousness would be smarter than this.
    • 45 Metascore
    • 50 Steven Rea
    Shot in Panama, with a cast of local Indians and B-tier Latino and Anglo actors, End of the Spear has neither the marquee heft nor the artistic gravitas of "The New World."
    • 48 Metascore
    • 50 Steven Rea
    Chicken Little is entirely lacking in anything "Disneyesque."
    • 64 Metascore
    • 50 Steven Rea
    Shortbus suffers from a vague, ad lib-y script and a cast that, while hardly shy, isn't exactly charismatic.
    • 57 Metascore
    • 50 Steven Rea
    The trouble with The Last Kiss comes down to Paul Haggis' screenplay.
    • 37 Metascore
    • 50 Steven Rea
    An alarmingly charmless attempt to evoke the elegant romance and jaunty, jet-setting intrigue of the aforementioned titles, The Tourist is notable for the total absence of movie-star heat that movie stars are paid unseemly sums to radiate.
    • 37 Metascore
    • 50 Steven Rea
    Until Seven Days in Utopia sucker punches you with a surfeit of faith-based platitudes, its upbeat brand of golf mysticism isn't altogether unappealing.
    • 46 Metascore
    • 50 Steven Rea
    The film never gives you a real sense of what drove Darin on, fighting a heart ailment (from childhood rheumatic fever) and fighting an industry and press that wanted to pigeonhole him.
    • 47 Metascore
    • 50 Steven Rea
    The folks at Disney's Touchstone Pictures would have been wiser, however, just to have forgotten all about this hyperactive farce.
    • 40 Metascore
    • 50 Steven Rea
    From its jungle forays to its waterfall tumbles to its deadly spider bites - is entirely, utterly unoriginal.
    • 29 Metascore
    • 50 Steven Rea
    A handsome Holocaust melodrama hobbled by a transparent and cartoonish script.
    • 47 Metascore
    • 50 Steven Rea
    A strange mix of showbiz whodunit and soft-core eroticism, with a couple of fine actors - Kevin Bacon and Colin Firth - wandering around stunned and stoned-looking, as if someone slipped them a mickey.
    • 29 Metascore
    • 50 Steven Rea
    Seyfried holds the camera's attention, playing this storybook business pretty much straight, although David Leslie Johnson's script puts the actress sorely to the test.
    • 31 Metascore
    • 50 Steven Rea
    A dark, shaky, standard-issue superhero picture.
    • 43 Metascore
    • 50 Steven Rea
    Does the world really need another movie about a married guy wandering blindly into an affair, or the married gal who can't decide whether to remain faithful or fool around?
    • 41 Metascore
    • 50 Steven Rea
    Knowing has about a half-dozen screenwriter credits, which may explain why scenes crash up against one another - smart, stupid, far-fetched, compelling. And the trouble is that Cage walks (or runs) through them all, treating each with the same level of intensely goofy seriousness.
    • 34 Metascore
    • 50 Steven Rea
    A mildly scary, totally meaningless excursion into the realms of psychological horror and alien-abduction conspiracies.
    • 56 Metascore
    • 50 Steven Rea
    If Manglehorn is to be remembered at all, it shall be for the excruciating first date that its title character goes on with a chirpy bank clerk he has long been chatting up. Her name is Dawn, and she is played by Holly Hunter.
    • 44 Metascore
    • 50 Steven Rea
    Where Mike Figgis' film, with Nicolas Cage and Elisabeth Shue, bore deeply and darkly into emotional territory, The Center of the World turns out to be just as fake as its setting.
    • Philadelphia Inquirer
    • 53 Metascore
    • 50 Steven Rea
    In Time is that kind of movie: Philip K. Dick for knuckleheads.
    • 54 Metascore
    • 50 Steven Rea
    The big shift between Carpenter's B-movie and filmmaker Jean-François Richet's comic book-style remake is that instead of a troop of bloodthirsty gang members encircling the precinct, the bad guys here all look like good guys.
    • 65 Metascore
    • 50 Steven Rea
    High-Rise feels like a throwback to a time when this kind of social commentary, in literature and film, seemed shocking and true. Not sure whether it's progress to say that in 2016, High-Rise doesn't shock at all.
    • 72 Metascore
    • 50 Steven Rea
    Alas, Brick, from writer-director Rian Johnson, isn't as clever as its conceit.
    • 49 Metascore
    • 50 Steven Rea
    Eva Longoria brings a crisp swagger and fluent Spanish to her role.
    • 42 Metascore
    • 50 Steven Rea
    The problem with NATM:BOTS is that Stiller, Adams, and company seem to be pretending that they're having fun, too.
    • 63 Metascore
    • 50 Steven Rea
    Am I crazy, or are Spring Breakers and "Oz the Great and Powerful" essentially the same movie? James Franco stars in both - a tattooed, gun-totin' gangsta in one, a charlatan magician in the other (you figure out which is which), and, in both, he's encircled by a bevy of Hollywood babes determined either to get witchy on him, or get that other witchy-rhyming word on him.
    • 54 Metascore
    • 50 Steven Rea
    Almost certainly, The Last Stand will not be Schwarzenegger's last. For better or for worse (and this is somewhere right in the middle), he is back.
    • 62 Metascore
    • 50 Steven Rea
    The film feels long, the editing is choppy, and the plot strands are at once convoluted and cliched.
    • 14 Metascore
    • 50 Steven Rea
    Much of the dialogue is the silliest sort of fantasy mush, and a good deal of the picture appears to have been shot while the lighting guys were out to lunch.
    • Philadelphia Inquirer
    • 50 Metascore
    • 50 Steven Rea
    Never mind the facts. True Story, slick and shaky, doesn't know where the truth lies.
    • 32 Metascore
    • 50 Steven Rea
    Hemsworth, who is Gale Hawthorne in "The Hunger Games" and the brother of the Hemsworth who stars as "Thor", has maybe one arrow in his acting quiver - he can look engaged.
    • 51 Metascore
    • 50 Steven Rea
    Intermittent moments of mild amusement ensue.
    • 50 Metascore
    • 50 Steven Rea
    Flat and predictable.
    • 49 Metascore
    • 50 Steven Rea
    Eisenberg (who starred in director Fleischer's far better Zombieland) does his usual Eisenbergian thing, more slacker and less hacker, but still hitting the same notes. And Ansari squawks and yelps, like a parrot with a grudge.
    • 72 Metascore
    • 50 Steven Rea
    An elaborately worked-over opus that's as tarted-up and artificial as Scorsese's '70s classic Mean Streets was gritty and real, Gangs of New York feels like a movie musical without the songs.
    • 47 Metascore
    • 50 Steven Rea
    A knuckleheaded period piece.
    • 40 Metascore
    • 50 Steven Rea
    Shaquille O'Neal and Dr. Phil open Scary Movie 4 with an achingly unfunny couple of minutes of severed limbs and errant hoop shots.
    • 49 Metascore
    • 50 Steven Rea
    It'd be nice if Jason Statham and Ben Foster, The Mechanic's mentor/protege duo, could crack a smile. Once.
    • 54 Metascore
    • 50 Steven Rea
    Bobby has its heart in the right place (on its sleeve). But it doesn't have its screenplay anywhere - or at least, anywhere near the heft that its subject demands.
    • 33 Metascore
    • 50 Steven Rea
    Sandler, shambling and smirky, delivers another of those one-take performances of his - likable and lazy, forever on the verge of cracking himself up.
    • 38 Metascore
    • 50 Steven Rea
    Let sleeping bros lie.
    • 45 Metascore
    • 50 Steven Rea
    The closest FF:ROTSS gets to wit is when Johnny convinces a reluctant Reed to attend a bachelor party, after promising the uptight groom-to-be that there won't be any "exotic dancers."
    • 53 Metascore
    • 50 Steven Rea
    It's a sorry spectacle, watching garden gnomes being robbed of their dignity.
    • 28 Metascore
    • 50 Steven Rea
    Obama, it is implied, is deliberately making America more vulnerable to attack from Muslim extremists. No mention is made of the fact that it was under Obama's watch that Osama bin Laden was killed.
    • 33 Metascore
    • 50 Steven Rea
    If that sounds a lot like Rushmore, it is, except that the heart has been sucked out of the thing -- replaced by glib chatter, gratuitous Baudelaire references, and distracting product placement.
    • 52 Metascore
    • 50 Steven Rea
    300
    300 is "Gladiator" for the gamer set.
    • 37 Metascore
    • 50 Steven Rea
    Despite some jaunty performances and its pretty Cotswolds locale, the film, in the end, is hardly a pleasure at all.
    • 47 Metascore
    • 50 Steven Rea
    Lakeview Terrace's pretense at exploring racial intolerance has been exposed for what it really is: a B-movie copout.
    • 58 Metascore
    • 50 Steven Rea
    Full of forced jocularity and drawing-room hissy fits, with its cast parading around in vintage threads and antique cars, Easy Virtue is a close-to-insufferable souffle based on the 1925 Noel Coward play.
    • 38 Metascore
    • 50 Steven Rea
    If Taking Lives starts off with a modicum of wit and creepy-crawly scares, it winds up somewhere else altogether: in the cliche-strewn land of preposterous red herrings.
    • 40 Metascore
    • 50 Steven Rea
    Catastrophically overdone.
    • 72 Metascore
    • 50 Steven Rea
    Feels downright ancient.
    • 61 Metascore
    • 50 Steven Rea
    Boy, can Harvey Keitel be bad -- and not bad like "Bad Lieutenant," bad like bad acting.
    • 41 Metascore
    • 50 Steven Rea
    Elegiac and corny and not really convincing on any level (especially when it comes to its treatment of women - be they hookers, or waitresses, or girls on the town), Stand Up Guys nonetheless holds some fascination just for the off-the-charts affectedness of Pacino's performance.
    • 37 Metascore
    • 50 Steven Rea
    Fails to provide one essential ingredient: suspense.
    • 46 Metascore
    • 50 Steven Rea
    It's a big stuffed turkey of a movie, just in time for the holidays.
    • Philadelphia Inquirer
    • 46 Metascore
    • 50 Steven Rea
    Satire should be knife-sharp and whip-smart, and The Nanny Diaries never is.
    • 65 Metascore
    • 50 Steven Rea
    Gimmicky artifice.
    • 57 Metascore
    • 50 Steven Rea
    In Don McKellar's remake of "Seducing Doctor Lewis", a 2003 French-Canadian comedy, the charm feels force-fed.
    • 45 Metascore
    • 50 Steven Rea
    Hesher has its genuinely affecting scenes, but too much of the time it feels false and shallow.
    • 56 Metascore
    • 50 Steven Rea
    Joltingly graphic and atmospheric (Nixey and his crew at least know how to set up a few good shocks), Don't Be Afraid of the Dark fails to involve us in any meaningful way with its characters.
    • 55 Metascore
    • 50 Steven Rea
    There are so many things wrong with Luhrmann's Great Gatsby - the filmmaker's attention-deficit-disorder approach, the anachronistic convergence of hip-hop and swing, the choppy elision of Fitzgerald's plot, the jarring collision of Jazz Age cool and Millennial cluelessness. But at the crux of things, the problem is that it's impossible to care.
    • 52 Metascore
    • 50 Steven Rea
    Alas, something happened on the book-to-screen operating table: Yes, Running With Scissors is rich, twisted, insane, mordant and ridiculous, but it is not funny. Not at all.
    • 47 Metascore
    • 50 Steven Rea
    A syrupy and extraordinarily ridiculous adaptation.
    • 24 Metascore
    • 50 Steven Rea
    Piles dumb gag upon dumb gag - it's like benign pummeling. Occasionally, you just have to laugh.
    • 56 Metascore
    • 50 Steven Rea
    Non-Stop gets increasingly far-fetched as the jet makes its way across the Atlantic. Certainly, there are more red herrings on the plane than there are in the sea below. And Neeson has to stare down every last one of them.
    • 40 Metascore
    • 50 Steven Rea
    There's little of the seen-it-all, wise-guy acerbity that made his character in the X-Men trilogy stand apart from his fellow mutants. Here, he just glowers.
    • 29 Metascore
    • 50 Steven Rea
    Some projects are just too misguided for the star to mug and shrug his way out of. Consider Rock the Kasbah at the top, or the bottom, of that list.
    • 58 Metascore
    • 50 Steven Rea
    Awash in nostalgia and amped-up male camaraderie, Richard Curtis' Pirate Radio takes a great story - the hugely popular offshore radio stations that illegally broadcast pop and rock in 1960s Britain - and turns it into an aggressively irritating floating frat-party romp.
    • 47 Metascore
    • 50 Steven Rea
    There are, to be sure, some impressive special effects here, and whoever Warner Bros. hires to make the new Superman movie should take notes.
    • 47 Metascore
    • 50 Steven Rea
    Ultimately, 44 Inch Chest has very little on its mind.
    • 74 Metascore
    • 50 Steven Rea
    A merrily macabre things-we-do-for-love yarn.
    • 64 Metascore
    • 50 Steven Rea
    There's a fine line between stupid comedy that's actually pretty smart and stupid comedy that's just dumb, and The Other Guys crosses the line - into realms of unredeeming dunderheadedness - more often than it should.
    • 45 Metascore
    • 50 Steven Rea
    Aimed at teens and tweens, the almost-squeaky-clean Step Up 3-D shamelessly piles on the corn, stacking it so high that it's bound to tilt over and collapse.
    • 43 Metascore
    • 50 Steven Rea
    To say that The Grace Card piles it on is an understatement of profound dimensions.
    • 22 Metascore
    • 50 Steven Rea
    A collection of double entendres that would make a stevedore blush.
    • 48 Metascore
    • 50 Steven Rea
    A TV-movie-ish love story laden with heavy-handed metaphor... The Theory of Flight is feeble stuff.
    • 56 Metascore
    • 50 Steven Rea
    The movie name-drops the cool stuff, the rebels of word and song, but the essence of the story and the cardboard characters who inhabit it are as mundane as can be.
    • 66 Metascore
    • 50 Steven Rea
    Moderately scary, moderately amusing, intermittently dull and obvious, Diary of the Dead is not groundbreaking, nor even ground-quaking.
    • 41 Metascore
    • 50 Steven Rea
    Kilcher is lovely. But sadly, Ka'iulani is a perfunctory biopic of the sort one might encounter on television during Women's History Month.
    • 20 Metascore
    • 50 Steven Rea
    Hopped up like a kid on a sugar rush, Hoodwinked Too! tries to emulate the "Shrek" formula - mashing Hans Christian Anderson and the Brothers Grimm with pop-culture references and wisecracking anthropomorphic sidekicks.
    • 46 Metascore
    • 50 Steven Rea
    Around the Bend doesn't inspire one to care.
    • 68 Metascore
    • 50 Steven Rea
    For the casual viewer who feels like maybe all the Sith hoopla is worth checking out, well, it's like tuning in to the season finale of "24" without having watched a minute of its lead-up episodes.
    • 55 Metascore
    • 50 Steven Rea
    Cloud Atlas is pop spiritualism, comic-book grandiosity, Zen for dummies. I can't say I didn't enjoy it on some level, but it's not the level of universal wisdom the Wachowskis and Tykwer would have us be on.
    • 44 Metascore
    • 50 Steven Rea
    What this arid and arty exercise offers is the opportunity for a bunch of actors, many of them tethered to TV series, to deliver theatrical monologues pulsing with misogyny and narcissism. It's like second-rate Neil Labute.
    • 39 Metascore
    • 50 Steven Rea
    In fact, no one in The Gunman looks happy. And what happened to chivalry? If a fierce squad of goons is coming after you and your ex, whom you still love, and there's only one Kevlar vest to throw on, don't you offer it to her? Apparently not.
    • 46 Metascore
    • 50 Steven Rea
    This glum and grandiose new King Arthur has little to do with the Camelot monarch we've come to know through books and film.
    • 54 Metascore
    • 50 Steven Rea
    A lush, lovely snooze-fest.
    • 45 Metascore
    • 50 Steven Rea
    The playwright, actor, director and drag queen (yes, his bewigged and be wild Madea makes a brief and totally gratuitous appearance in his new film) knows how to give human dimension, and a dimension of humor, to the cliches and stereotypes.
    • 34 Metascore
    • 50 Steven Rea
    "Kill Bill" without irony, and without Quentin Tarantino's flair for cool dialogue and chop-socky action (and without Uma Thurman, for that matter), Elektra is a pretty-looking, pretty dull adaptation of the Marvel Comic about a dishy, deadly assassin.
    • 36 Metascore
    • 50 Steven Rea
    Lady in the Water boasts an eclectic cast - almost entirely squandered.
    • 31 Metascore
    • 50 Steven Rea
    The movie bogs down in tiresome good guys vs. bad guys action cliches.
    • 50 Metascore
    • 50 Steven Rea
    How bad is Prince of Persia? Whether or not director Mike Newell is to blame, the action sequences lack verve and scope.
    • 56 Metascore
    • 50 Steven Rea
    For high-speed action, eye-popping locales, and chopsocky fight-fests galore, watch The Transporter - on video.
    • 51 Metascore
    • 50 Steven Rea
    Tonally, Casino Jack is all over the place: exaggerated comedy, cartoonish high jinks, then heavy-handed melodrama (a third-act face-off between Abramoff and his wife, played with no center of gravity by Kelly Preston, comes out of nowhere).
    • 47 Metascore
    • 50 Steven Rea
    The feeblest kind of costume drama, where the costumes have more impact than the drama and where the period details serve only as distraction, reminding audiences that things looked different back then and not much else.
    • 52 Metascore
    • 50 Steven Rea
    As for Bale, he seems to have lost his compass. His accent strays, his famous intensity wasted on clunky dialogue.
    • 30 Metascore
    • 50 Steven Rea
    The film drifts along on a stream of humiliation jokes - physical, emotional, sexual, hairpiece-ial.
    • 41 Metascore
    • 50 Steven Rea
    Chappie has a nothing-to-lose Roger Cormanesque quality about it, low on budget (except for the CGI robots) and low on meaning, but full of high-velocity chases, helicopter pursuits, and weapons blasting around empty warehouses marred by graffiti and trash.
    • 55 Metascore
    • 50 Steven Rea
    An overobvious and underwhelming satire about American consumerism run amok.
    • 58 Metascore
    • 50 Steven Rea
    The film veers between cutting parody and cliche, threatening to become interesting at any moment, but never quite doing so.
    • 29 Metascore
    • 50 Steven Rea
    Travolta, a bit portly (or is it starboardly?), phones in his performance from his place in Maine; Vaughn is ice-cool but not especially convincing; the kid is OK, and Polo is a blank.
    • Philadelphia Inquirer
    • 43 Metascore
    • 50 Steven Rea
    In Jersey Girl, Kevin Smith wears his heart on his sleeve - and on his pants, socks, boxers and backward-facing baseball cap.
    • 47 Metascore
    • 50 Steven Rea
    Anderson, who's turned Brit in a number of TV series and films, including "Bleak House" and "The Last King of Scotland," is compelling in her white lab coat and surgical scrubs, and she brings some real tenderness to her tete-a-tetes with Mulder.
    • 56 Metascore
    • 50 Steven Rea
    A great story - and a true one, more or less - Bottle Shock nonetheless fails to deliver much in the way of entertainment.
    • 49 Metascore
    • 50 Steven Rea
    Utterly charmless - there's not even a glimmer.
    • Philadelphia Inquirer
    • 23 Metascore
    • 50 Steven Rea
    A messy fish-out-of-water gangland romp.
    • 51 Metascore
    • 50 Steven Rea
    The film is at once shamelessly transparent, manipulative, and far-fetched, and impossibly suspenseful. You'll want to take a shower afterward - that's how icky you'll feel.
    • 17 Metascore
    • 50 Steven Rea
    A tad more character development would have been nice.
    • 33 Metascore
    • 50 Steven Rea
    A by-the-numbers extravanganza that journeys from London to Venice to Siberia to Cambodia without ever really going anywhere.
    • Philadelphia Inquirer
    • 37 Metascore
    • 50 Steven Rea
    Ultimately, Evan Almighty is too sappy, too sanctimonious.
    • 40 Metascore
    • 50 Steven Rea
    As for Kunis, she gets to wear some out-of-this-world couture, and gets to make her entrance at a marriage ceremony on a floating dais, kind of like Katy Perry at the Super Bowl.
    • 56 Metascore
    • 50 Steven Rea
    The movie pulls off the worst kind of con: the one that disappoints.
    • 45 Metascore
    • 50 Steven Rea
    For a while, Firewall whips up the accordant dollops of suspense and dread, but it's not long before the timely issue of identity theft takes a backseat to old-fashioned Hollywood villainy, unnecessary (and nonsensical) red herrings, and STUFF THAT DOESN'T MAKE SENSE.
    • 59 Metascore
    • 50 Steven Rea
    Who knows if it was Del Toro's idea, or Stone's, but at a particularly crucial - and criminal - moment, as a very bad thing is about to occur, the actor twirls his mustache menacingly, like a Mexican Snidely Whiplash. Yes, Savages is that kind of story.
    • 67 Metascore
    • 50 Steven Rea
    Over the Hedge isn't by any stretch bad. It's just banal.
    • 37 Metascore
    • 50 Steven Rea
    A squirmy mix of therapy-session slogans, pop psychobabble, and lots of crying, yelling and pouting on the part of its two stars, who appear in various alarming hairpieces.
    • 39 Metascore
    • 50 Steven Rea
    Although Will Ferrell materializes for a goofball cameo, The Goods: Live Hard, Sell Hard lacks a key element that his "Talladega Nights" and "Anchor Man" both had - that is, somebody to like.
    • 60 Metascore
    • 50 Steven Rea
    Just about the only cast member who doesn't go misty at one point or another is the horse that Down Under cinema charmer Bryan Brown takes for a trot late in the film.

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